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(Continued)
Another comic book adage, generally invoked by whoever is paying for the long-distance calls that connect creators, is, "Brief is best." It's true in any kind of writing that you want to make your point in as few words as possible, but nowhere is this truer than in comic book writing. The artwork is what attracts the reader's initial attention, and primarily, tells the story; words only support the pictures. This aspect of comic book writing is most exacerbating to a self-described Neo-Romanticist like myself. Perhaps Thoreau said it best: "Simplify, simplify." Easy for you to say, Hank. Opportunities in the Field "Sounds interesting," you may be thinking, "but I just can't see myself making a living telling stories about overmuscled idiots in tights who throw each other through brick walls." Not to worry. The comic book biz is a $700-million-a-year industry, and many opportunities flourish in this burgeoning field. Although super-heroes are the largest single offering, a myriad of other genres are alive and well, including science fiction, horror, mystery, adventure, drama, comedy, educational, biographies, and adaptations, among others. The largest, oldest companies--DC and Marvel-- own virtually every character they publish. Members of the creative team are most often employed on a work-for-hire basis. These folks get paid a certain amount per page and often receive a royalty. Merchandising and other media rights (such as television, film, novelization) go not to the character's originator nor the current creative team, but to the publisher. Because these companies still cling to the antediluvian policy of having their creators sell the publisher all rights to their brain children, many comic book professionals are working with smaller companies to whom they license their creations. This is what I chose to do with my original character, the Skulker. Licensing agreements vary wildly, depending on the experience of the creator and size of the publisher, but generally they address the same issues. Most state that the creator-- in my case, the writer-- will publish his or her character with a given company, for a given time (usually called "the term"). During this period, the publisher and the creator will divide the profits the character reaps. That can range from five percent to 80 percent of the profits going to the creator. Weighing the Ups and Downs What appeals to me about comic book writing-- what's unique about it compared to other kinds of writing-- is that it possesses a delightful brand of chaos, not unlike that of musicians improvising. Comic book writing is highly organic because the writer is but one of several creators working on a given story. Teamwork comes into play, and when each of the creative team members really gets behind a project, the individual creator invariably looks better than if he or she were working alone on a non-comics assignment. The unforeseen factors that result from collaboration always challenge the writer, who learns from each project because each project is different. The down side is the flip side of the upside. Specifically, some important factors are beyond the writer's control. Artwork is what makes comic books comic books; therefore, good artists are generally more valued than good writers, although that trend is changing. Then, too, working with smaller publishers that allow writers the most creative freedom can be frustrating. One reason is that once stories are completed, they may, due to sometimes sporadic printing schedules, sit in dusty piles awaiting an opportunity for publication. In addition, when a creator does a work-for-hire with a company of any size, the creator's abilities are just one piece on the publisher's personal chess-board. The publisher, understandably, will choose to use-- or not to use-- those abilities when it's most advantageous to the company, not the creator. What to Do If you're a member of the rare breed of masochist to whom this sort of thing appeals and you want to get involved, the best way to go about it is to be realistic. The largest companies have little trouble finding creators with years-old reputations to work for them. These companies simply don't interact much with unestablished creators, particularly writers. They also won't train you in the specifics of comic book writing. The best sources for this unique erudition are Eisner's Comics and Sequential Art and Understanding Comics: The Invisible Artform by Scott McCloud (Kitchen Sink Press). Once you develop your basic skills, go to your local comic book shop and see what appeals to you. The comics you choose will contain the names and addresses of their publishers. Write to those publishers and ask them to identify their needs. Then fill those needs and establish the amicable rapport I spoke of earlier. Sounds simple, doesn't it? I think I forgot to mention the part where you cancel your social engagements for the next five years. If you expect to make it, you're going to have to be dedicated and persistent... as with any kind of writing. The rewards, however, are tremendous. The rapport between comic fandom and the publishers are very open indeed. Intelligent, capable people of all ages will take a few minutes (or more) of their time to write to the publisher and offer praise and suggestions. These warm, fuzzy missives eventually find their way into the sweaty hands of the creative team. Does that sound more satisfying than the annual pat-on-the-back from a real-world boss? As if a job where you can work in your underwear isn't reward enough. Terrance Griep, Jr., has been a published writer since 1993. His professional credits include numerous magazine articles, short stories, and radio plays, but his most-recognized work is on DC Comics' Scooby-Doo to which he currently contributes. Griep has written dozens of comic book stories for large companies and small, within the genres of children's literature, science fiction, mystery, and that old familiar staple, super-heroes. He lives, writes, and very occasionally sleeps in Minneapolis. Copyright © 1995-1999 Terrance Griep, Jr. All rights reserved. Reprinted with permission. This article originally appeared in WRITERS CONNECTION, Volume 13, No. 1, January 1995. |
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